Based on the best-selling novel by Sophie Anderson, Marinka and her unusual house are brought to life in this brand new production by award-winning theatre company, Les Enfants Terribles. Produced in their unique style by the team behind Olivier Award-nominated ‘ Alice’s Adventures Underground’, the story is told through a blend of live music, puppetry and a sprinkle of magic to immerse you in this Yaga world of spirits and secrets.

Admittedly, I have not read Sophie Andersons book, and I now know I want to. With the rich visuals and narrative presented on stage, I can only imagine the book is a cosy but provocative read. Oliver Lansley, adapter and co-director, has achieved a real feat with this production. Teaming with James Seager, the pair have created a beautiful piece of theatre, that asks some interesting questions and starts some important conversations. The production design, Día de los Muertos-chic, isn’t scared to mash styles together, giving us lo-fi (though highly inventive) puppetry alongside projection and good old fashioned storytelling.Afanasyev, Alexander (1973) [1945]. Russian Fairy Tales. Translated by Guterman, Norbert. New York: Pantheon Books. ISBN 978-0-394-73090-5. First Book Award Nominees". Locus Online. 2018-08-13. Archived from the original on 2022-08-14 . Retrieved 2023-09-29. Across her bestselling novels, Sophie has won the Independent Bookshop Book of the Year Award and the Wales Book of the Year Award, and been shortlisted for the CILIP Carnegie Medal twice, the Waterstones Children’s Book Prize, the Blue Peter Book Award, the British Book Awards’ Children’s Fiction Book of the Year, the Andersen Prize, and the Branford Boase Award.

This story explores themes such as being an outsider, loneliness and loss sensitively and with imagination. Your KS2 class will look at the words or choose words of their own from the story and focus on class, use in the story, synonyms, meanings and then writing the word in a sentence. I nije bilo, ni za mene ni za Marinku. U početku sam skroz bila uz djevojčicu i njezine probleme, a onda sam gledajući odraslim očima na trenutak izgubila tu mlađahnu nit i prepoznala sam kako se moje godine iskustva javljaju i njezino me ponašanje počelo ljutiti.Williams, Imogen Russell (26 May 2018). "Children's and teens roundup: the best new picture books and novels". The Guardian. ISSN 0261-3077. Archived from the original on 8 June 2023 . Retrieved 15 September 2023. Außerdem muss es vor den Lebenden verborgen bleiben und die Gerüchte um die "menschenfressende Hexe", die in solche einem Haus wohnt, sind natürlich auch Marinka bekannt. Jasmine Swan is an award-winning Set & Costume Designer working across theatre, opera, dance, live events and immersive experiences. Jasmine won Best Costume Design at the UK Pantomime Awards 2023. She was a The Stage Debut Award Nominee in 2018 for Best Designer, for her debut season of work. She was a Linbury Prize for Stage Design Finalist in 2017 and has been nominated for multiple Off West End awards. Jasmine was a resident designer at New Diorama Broadgate design studio 2021/22 and was Laboratory Associate Designer at Nuffield Southampton Theatres in 2017/18. She is interested in creating surreal, abstract and expressionistic spaces, with sustainability and a greener practice in mind. She is a member of Scene Change.

This article appears to contain trivial, minor, or unrelated references to popular culture. Please reorganize this content to explain the subject's impact on popular culture, providing citations to reliable, secondary sources, rather than simply listing appearances. Unsourced material may be challenged and removed. ( October 2023) A story about finding your own destiny, even when your future seems written in the stars, perfect for fans of Kiran Millwood Hargrave, Katherine Rundell and Neil Gaiman. About This Edition ISBN: This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Registered in England and Wales No: 1681278. Registered office 2 Tony Wilson Place Manchester M15 4FN.The portrayal of death, the afterlife, loss, grief, acceptance and joy is done in such a delicate, yet honest way. The production opens up the conversation and invites the audience (metaphorically) to question their own understanding of mortality. Williams, Imogen Russell (2018-05-26). "Children's and teens roundup: the best new picture books and novels". The Guardian. ISSN 0261-3077. Archived from the original on 2023-06-08 . Retrieved 2023-09-15. GennaRose Nethercott's first novel, Thistlefoot, "reimagines Baba Yaga as a Jewish woman living in an Eastern European shtetl in 1919, during a time of civil war and pogroms." [22]

Guardian readers (20 December 2018). " 'Genuinely brilliant from cover to cover': your favourite books of 2018". The Guardian. ISSN 0261-3077. Archived from the original on 19 May 2023 . Retrieved 15 September 2023. the idea of Baba Yaga as a kind and gentle Guardian of the Gate who leads the dead into the afterlife among the stars was an interesting direction to take with this particular character, but... This sparkling debut weaves the captivating folklore of Baba Yaga with the thrills of a classic venturing-out-into-the-world quest, replete with primal conflicts, tantalising twists and an unforgettable protagonist that readers will truly root for. The show is funny, thought-provoking and full of life as it deftly navigates the complexities of loss from a whole new perspective. Johns, Andreas (2004). Baba Yaga: The Ambiguous Mother and Witch of the Russian Folktale. New York: Peter Lang. ISBN 978-0-8204-6769-6.

Some of the lesser side characters really did annoy me, but I feel they were supposed to, they were more of a plot device and helped Marinka develop her own character, but I could have done without a few of them to be honest with you. I did enjoy the role that the dead played in this, they were all rather friendly, which makes a change from the way ‘ghosts’ or ‘spirits’ are usually presented (a something slightly creepy!). Hats off to Nina Dunn for the Video desing and Jasmine Swan for the Set designer. The combination of the use of video and the highly interactive and reactive set pieces are amazing to look at. They provide a high level of spectacle without taking away from the drama and narrative. Each transition is placed intentionally, each projection is used to wisely and each scene is delivered to the audience seamlessly and beautifully.